Applying Rhythm to Chords - Revision history

Meambobbo at 01:38, 12 June 2015

2015-06-12T01:38:58Z

Meambobbo at 16:01, 19 March 2015

2015-03-19T16:01:33Z

Show changes

Meambobbo at 23:13, 4 March 2015

2015-03-04T23:13:48Z

Meambobbo: /* Tuplets/Triplets */

2015-03-04T23:11:37Z

‎Tuplets/Triplets

Meambobbo: /* Playing Off-beat */

2015-03-04T22:53:46Z

‎Playing Off-beat

Meambobbo: /* Playing Off-beat */

2015-03-04T21:55:29Z

‎Playing Off-beat

Meambobbo: /* Accents Over Mutes */

2015-03-04T21:48:43Z

‎Accents Over Mutes

Meambobbo: /* Puttin the Stank on Power Chords */

2015-03-04T21:48:09Z

‎Puttin the Stank on Power Chords

Meambobbo: /* Vamping */

2015-03-04T21:47:44Z

‎Vamping

Meambobbo: /* Comping */

2015-03-04T21:47:21Z

‎Comping

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+{{Lesson Crumbs|2}}
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 * [[Djent]]
-<div class="item-wrap">
+{{top}}
-<div class="trail blue">
-<span class="text">[[B Diminished|B dim]]</span>
+{{Intermediate Lesson Crumbs|7}}
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-<u>Tuplets</u> are rhythmic structures that subdivide a beat into a number of equally long sub-beats that isn't a multiple of 2.  They consist of a beam marker that connects the notes, with a number or ratio of numbers written above.
+<u>Tuplets</u> are rhythmic structures that subdivide a beat into a number of equally long sub-beats that isn't a multiple of 2.  For example, in */4 time, sub-dividing into 2 can be done using 8th notes, into 4 uses 16th notes, and into 8 uses 32nd notes.  If you wanted to sub-divide the beat into 3rds, 5ths, 6ths, or 7ths, you'd have to use a tuplet.  They are written in tab with a line spanning above the notes, with a number or ratio written in the middle.  In classical notation, the notes are beamed together with the ratio or a single number written above the beam.
       |2   n   |3  tr lt|3 u n u|4
@@ Line 282: / Line 285: @@
     C      |/   /   |/  /  / |/ / / /|/
-The "---3---" above the strums indicates a triplet - here we have a quarter note on the first beat, 2 notes for the 2nd beat, 3 on the 3rd, and 4 on the 4th.  We count this as "1 2 and 3 trip-let 4 uh and uh".  I included the note names: q - quarter, e - eighth, s - sixteenth.
+The "---3---" above the strums indicates the triplet - here we have a quarter note on the first beat, 2 notes for the 2nd beat, 3 on the 3rd, and 4 on the 4th.  We count this as "1 2 and 3 trip-let 4 uh and uh".  I included the note names: q - quarter, e - eighth, s - sixteenth.
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 Often the group of notes is all the same type and consumes the entire beat.  For instance (in 4/4), you'll see a 3:2 tuplet of 3 eighth notes, or a 6:4 tuplet of sixteenth notes, or a 12:8 tuplet of thirty second notes.  In these cases, you often only see the numerator of the ratio marked.  We assume the denominator is however many of that note normally make up a single beat.  In 4/4, 2 eighth notes, 4 sixteenth notes, and 8 thirty second notes all equal 1 beat.
-It's rare, but there are cases where the ratio must be specified because the rhythm would otherwise be ambiguous.  For example, you may have a single eighth note marked with a 6:5 tuplet, then 3 quarter notes marked with a 8:7 tuplet, then 1 quarter note marked with a 24:23 tuplet.  Believe it or not, this actually adds up to a perfect 4 beats of time.  I'll prove it.
+It's more rare, but there are cases where the ratio must be specified because the rhythm would otherwise be ambiguous.  For example, you may have a single eighth note marked with a 6:5 tuplet, then 3 quarter notes marked with a 8:7 tuplet, then 1 quarter note marked with a 24:23 tuplet.  Believe it or not, this actually adds up to a perfect 4 beats of time.  I'll prove it.
-* 5 8th notes = 2.5 beats.  The 1 6:5 eighth note = 1/6 of 2.5 beats = 15/36ths of one beat
+* 5 8th notes = 2.5 beats.  The 6:5 eighth note = 1/6 of 2.5 beats = 15/36ths of one beat
 * 7 quarter notes = 7 beats. The 3 8:7 quarter notes = 3/8 of 7 beats = 21/8ths of one beat, or 2 and 5/8 beats.
-* 15/36ths + 21/8ths = 120/288ths + 756/288 = 876/288 = 438/144 = 219/72 = 73/24
+* Adding the first two bullet points above gives us 15/36ths + 21/8ths = 120/288ths + 756/288 = 876/288 = 438/144 = 219/72 = 73/24
 * to get 4 full beats, we need (4 * 24)/24 = 96/24ths.  We already have 73/24ths, leaving us needing 23/24ths.
 * We invert this to get our tuplet for the last quarter note - 24:23.  It equals 1/24 of 23 beats, or 23/24ths of 1 beat.
-Most of the time, such crazy math isn't necessary or really even useful.  It's usually clear what the composer or transcriber wanted you to play when you look at the notation.  Simple triplets can be a bit difficult to understand and even more difficult to execute at first.  But once you can consistently play triplets, a rabbit hole of rhythmic possibilities.  But this takes us back to what we first learned in the [[Music Theory Basics]] lesson.  The whole concept of rhythm - using time signatures, tempos, beats, and measures - is designed to provide us a framework to organize musical ideas temporally.  Writing and playing rhythms that deviate so wildly from the chosen framework is perhaps a bit counter-productive, unless the desired effect is to re-encompass the randomness and chaos that would ensue if we totally removed our rhythmic framework.  Using random note durations may not line up phrases with measures and down beats, but they would still line up with the beats.  Using random tuplets on the other hand would certainly cause notes to line up randomly off timed with all the beats.
+Most of the time, such crazy math isn't necessary or really even useful.  It's usually clear what the composer or transcriber wanted you to play when you look at the notation.  Simple triplets can be a bit difficult to understand and even more difficult to execute at first.  But once you can consistently play triplets, a rabbit hole of rhythmic possibilities emerges.  This takes us back to what we first learned in the [[Music Theory Basics#Rhythm|Music Theory - Rhythm]] lesson.  The whole concept of rhythm - using time signatures, tempos, beats, and measures - is designed to provide us a framework to organize musical ideas temporally.  Writing and playing rhythms that deviate so wildly from the chosen framework is perhaps a bit counter-productive, unless the desired effect is to re-encompass the randomness and chaos that would ensue if we totally removed our rhythmic framework.  Using random note durations (without tuplets) may not line up phrases with measures and down beats, but they would still line up with the beats, or at least divisions based upon a multiple of 2.  Using random tuplets on the other hand would break down our entire concept of a rhythmic framework.
 : "My God, when is he going to get to it?" ''-Everybody''
 Now as far as strumming rhythm goes, triplets or other tuplets that contain an odd division of a beat (such as 3rds, 5ths, or 7ths) are going to throw us off a bit.  We play them the same as above by speeding up and playing on each stroke.  The problem is we end up reversing our up and down strokes, due to the odd division.  If the pattern has two triplets, then we don't need to worry about it because they will cancel out.  If not, we need to find some space to try to get back on beat.  Or we just have to recognize that we've reversed down and up strokes and keep chugging along.
-=== Using Space to get Back on Beat ===
+==== Using Space to get Back on Beat ====
    n   2  tr lt 3        4   n
   d   u   d  u  d  u (d)(u) d   u
@@ Line 337: / Line 345: @@
 Here we strum another triplet on the 3rd beat, but only pick the initial upstroke.  Phantom strum the other two hits.
-=== Two Triplets in the Same Measure ===
+==== Two Triplets in the Same Measure ====
    n   2  tr lt 3   n   4  tr lt
   d   u   d  u  d  u   d   u  d  u
@@ Line 343: / Line 351: @@
 Here we switch so that we're using upstrokes on beats 3 and 4; however, the triplet on beat 4 will get us back to downstrokes on the beat in the next measure.  We just keep alternate picking and let the two triplets cancel out.
-=== Triplet with No Space ===
+==== Triplet with No Space ====
    n   2  tr lt 3   n   4   n
   d   u   d  u  d  u   d(u)d   u

@@ Line 173: / Line 173: @@
   d   d u   u   u   u d   d u d
-Where this gets really tricky is when there are a greater variety of chord durations, such as dotted quarters, sixteenth notes, or even tuplets.  And when combined with rests, muted strums, and quick chord changes, it begins to become overwhelming.  It's best to practice this and other patterns on a single chord, getting
+Where this gets really tricky is when there are a greater variety of chord durations, such as dotted quarters, sixteenth notes, or even tuplets.  And when combined with rests, muted strums, and quick chord changes, it begins to become overwhelming.  It's best to practice this and other patterns on a single chord, getting more and more comfortable with the concept before trying to work it into real-world applications.
 {{top}}

@@ Line 163: / Line 163: @@
 |Applying Rhythm to Chords#Puttin the Stank on Power Chords|Accents
 }}
    2   3   4  |1   2   3   4  |
   q   e q   q   q|  e q   e e q  |
   /   / /   /   /   / /   / / /
 {{top}}

@@ Line 143: / Line 143: @@
   q   q   e e e e|q   q   e e e e|
   /   /   x x x x /   /   x x x x
 == Playing Off-beat ==

@@ Line 540: / Line 540: @@
   A--5-------X-X-X-X-5-(X)-5-(X)-3----3-5-
   E--3-------X-X-X-X-3-(X)-3-(X)----------
 == Homework ==

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   A----------------------------------
   E----------------------------------
 == Puttin the Stank on Power Chords ==

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   n  2  n  3  n  4  n
    /    (x) /  x
 == Vamping ==